ABSTRACT
This chapter puts forth various strategies for discussing fusion and crossover music in the classroom, including theoretical frameworks as well as practical exercises. Moving past “hybridity,” I suggest “hyphenation” as a term that has special resonance for diasporic art forms, and as a means of conceptualizing musical works and epistemologies that are characterized by multiplicity from the outset. Taking the work of Carnatic mridangist Rajna Swaminathan as a case study, I demonstrate how hyphenation can be deployed as a mode of analysis. I also engage recent discussions of cultural appropriation in the context of interminority borrowings and collaborations.
